Vancouver

A Fine French 19th Century Empire Style Day or Alcove Bed known in French as "lit en Bateau" The bed is made of fine Cuban Mahogany and is embellished with a ormolu mounts all alo...

A small 19 Century French patinated bronze bust of Emperor Napoleon Bonaparte wearing his trademark bicorn hat and his favorite uniform of Colonel of Chasseurs Cheval de la Garde. ...

A small single hanging ceiling light fixture featuring a gilt bronze "Flying Putto" holding a gilt bronze and frosted glass flower shaded light .

An exceptional and rare Milanese late 19 Century Renaissance Revival ebony framed bed profusely inlaid and encrusted with scrolling arabesques of entwined scrolled foliage, honeysuck...

A late 19thC French Empire style candelabra in yje manner of Thomire featuring a finely chased patinated bronze statue of Nike or Winged Victory holding aloft five gilt bronze can...

An 18th century English George III Gainsborough library chair, the frame in carved mahogany of generous proportions with a serpentine back above shaped set back arms. The legs are sq...

An exceptional and extremely rare set of a combination of silver and vermeil (gilded silver) flatware designed and crafted in St Petersburg Russia by Andrei Stepanovich Bragin d...

A magnificent early 20th Century French Louis XVI Style Mahogany and Gilt Bronze armoire in the manner of Francois Linke. The arched top is centred by...

An early 19th century Russian chandelier having eight candle arms. The design is intended to represent waterfalls. The central stem of the chandelier is in four tiers each hung with ...

The Louis XVI style dessert table is made of mahogany, the top section richly decorated with gilded bronze Vitruvian scrolls and other decorative mounts, all of Dasson or Linke quali...

A truly magnificent mahogany George II style bookcase fitted writing desk and a chest of drawers. The upper section having numerous folio/file drawers and compartments, a leather lin...

A mid 19 century French Gilt Bronze Gothic style mantel clock and garniture which the French call " A la Cathedrale". The three pieces are of finely chased and gilded bronze; the cl...

A life-Size pair of finely cast 19th century Italian terracotta eagles standing on an oval terracotta base, each facing the other with their wings par...

Initially introduced back in 1938, Little Petra won instant praise at the Copenhagen Cabinetmakers Guild Exhibition, subsequently winning awards at exhibits in New York and Berlin. I...

73.1 pendant by Bocci. Dimensions: D 11.6 x H 300 cm. Materials: brushed nickel round canopy Weight: 2.7 kg White canopy also available. Due to the handcrafted nature of the 73 ...

A rare collection of about 130 pieces of Staffordshire-England - Crown Fine Bone China - Birds of Paradise Pattern - #592627 - white and very light blue grey background with purple...

A figure of a standing young lady finely carved in white alabaster. She is shown dressed in an almost ‘flapper’ style skirt as she leans with her elbows against an ochre mottled rectangular alabaster column on a further stepped base. Her eyes are almost closed as if she is dreaming. The lower rectangular column supports a fluted round column which holds a hollowed white alabaster bowl...

A monumental cast bronze and frosted glass porte cochere lantern; (a porte cochere is a roofed structure extending from the entrance of a buildin...

A centrally pivoted cheval mirror with gilded bronze mounts; the arched beveled mirror framed in mahogany with gilded bronze rosettes; the mirror...

A French Empire gilt bronze clock showing a Caesar (resembling Napoleon), seated on a classical throne. He is slightly leaning to one s...

A Napoleon III marquetry side table. The top galleried section with a drawer and the two bottom shelves having overall inlaid exotic wood inlay ...

An imposing Louis XVI style roll top desk in beautifully figured mahogany and having finely chased and gilded bronze mounts; the green marble top with a bronze gallery above three lo...

A mahogany cheval mirror and jewellery cabinet, once belonging to Leitizia Bonaparte, Napoleon's mother. The veneered semi circular topped mirror framed by columns topped with gilt bronze cassolettes and single arm candle holders. The bottom section is fronted by two doors which open to reveal nine shallow leather cartonniers and six jewellery drawers; the whole carcass richly decorated with gilt bronze friezes and various classical motives. Similar gilded bronze mounts are found on various pieces of furniture in the collection of the Louvre Paris. This rare museum worthy piece of furniture came from the Chateau Du Pont Sur Seine. The piece is not stamped but the quality of the mahogany and the amount of finely chiseled and burnished gilt bronze mounts, plus the presence of the cartonnier and jewellery drawers almost certainly point to a royal provenance and which almost certainly came from the workshop of Georges Jacob. The Chateau De Pont Sur Seine was originally built in 1632 and hosted such important historical figures as Catherine de Medicis and Cardinal Richelieu. In the late 17C it was acquired by the Duc de Saxony, one of Louis XVI’s uncles whose family maintained ownership until 1792 until the start of the French Revolution when they had to vacate to escape the guillotine. While it suffered damage by the revolutionairies it was still very habitable and in 1805, Napoleon purchased the chateau for his mother Madame Letizia Bonaparte where she resided until Napoleon’s fall from grace in 1814. Madame Mere...

An early 19th century Swedish or Russian Porphyry campana urn vase carved in a Classic shape, likely carved by the Alvdalen factory in Sweden, the vase presently mounted on a faux gr...

A 19th century copy of a painting by Claude Lorrain titled, " Harbor with the Villa Medici". Early morning light filters over a wholly imaginary scene, an exquisite example of the ...

Initially introduced back in 1938, Little Petra won instant praise at the Copenhagen Cabinetmakers Guild Exhibition, subsequently winning awards at exhibi...

A mid-19th century American richly finished armoire in bird’s-eye maple of neoclassic architectural shape and proportions; the cabinet is in three sections framed by ionic pilasters,...

A rare, unique and dramatic pair of Rococo style marble topped giltwood triangular shaped consoles and complimentary slightly elliptical giltwood mirrors. The four pieces are believed to be northern Italian most likely from the Venetian region. The design and carving of the superstructure presented with bunches of grapes, vine leaves, branches and twigs. A winged dragon is shown swirling around and down the central leg of each console. The three legs are joined with a lower stretcher are all presented as vine tree trunks from which germinate more grape leaves and branches. They both have shaped red/grey mottled marble tops. The consoles show more signs of early to mid-18th century Rococo chinoiserie influence. The mirrors were likely made slightly later in the 19th century but in the same Italian region, and appear to have a more Japanese influence in their design especially the hawk/eagle leaning over the top of the mirror. The giltwood frames of the mirrors are completely covered with gilded branches and leaves. On the left side of each mirror is a 'fantastical' dragon-bird, his huge wings spread out and his long tail clinging around the lower branches. He looks up into the eyes of the top hawk/eagle who appears ready to attack the dragon-bird. The whole is a real virtuoso display of carving and whimsical Rococo design. Chippendale in England and his contemporaries were some of the first cabinet makers to design furniture in the Rococo style, the term taken from the French 'Rocaille' (rockwork), as in fantasy constructions such as grottoes. The style originated in France early in the 18th century when there was a reaction against the weighty classicism of the Baroque style. The consequent taste was for something lighter representing an escape from the stifling, self-conscious grandeurs of the Louis XIV period. As pioneered by designers such as Jean Berain and Pierre Lepautre...

An unusual French gilt bronze candelabra, now wired as a lamp, combining Louis XVI and late Empire styles. An elegantly draped young lady sits beside her open jewellery box with thre...

21.3 Pendant by Bocci Dimensions: D15.2 x H300 cm Materials:brushed nickel,round canopy. Weight: 1.8 kg Also available in different dimensions. All our lamps can be wired acco...

Never in the 35+ years that we’ve been in business have we ever had anything like these rare matched chests. From Paris, this incredible pair of early 19th Century (C.1800) are in ex...

Grand scale boulle Cartel clock and matching plinth, the ebonized wood case is embellished all-over with gilded bronze mounts (re-gilt). The medall...

An Art Deco patinated bronze sculpture of a baboon by acclaimed Italian early 20th century Florentine sculptor Sirio Tofanari, (1886-1969). The bronze i...

A walnut, burr-walnut and inlaid Dutch longcase clock by W.V Dadelbeek, Utrecht. The case of typical form, trunk door with feather banding, bombe ...

A beautifully carved and giltwood 18th century Louis XVI wall barometer having its original mercury tube and mechanism but presently with the mercury missing.    

28sp wall lamp by Bocci Dimensions: Diameter 16.5 x H 11.5 cm Materials: blown glass, electrical components, metal mounting plate Lamping: : 1.5w LED or 20w xenon. Non-dimmable. ...

57.7 Pendant by Bocci Dimensions: D 20.3 x H 300 cm Materials: white round canopy. Weight: 11 kg Also available in different dimensions and colours. All our lamps can be wired...

An Italian Baroque painting on canvas that may have been painted as a study, (or what is referred to as a bozzetto to a larger commissioned pa...

An English sterling silver five-piece ladies vanity dresser set consisting of a hand mirror, two hand brushes and two brushes each piece hallmarked ...

A large and beautiful three quarter length portrait of a partly seated lady her hat over one arm holding a bouquet of flowers, the other arm held upward holding a branch of a tree. This original oil on canvas by the British artist Laurence Koe, (1863-1913), is signed on the lower right and dated 1905. Lawrence E. Koe was a portrait painter and sculptor. He is listed as living in Brighton when he first exhibited at The Royal Academy in 1891, but by 1894 he had moved to London where he appears to have settled for the remainder of his life. Koe exhibited widely; over twenty times at The Royal Academy, but also at the R.O.I, The Royal Society of Artists in Birmingham and the Walker Art Gallery in Liverpool. Most of his exhibited works were portraits, and among his sitters were the wives of fellow artists Harold Speed RP (1872-1957) and Harold Piffard (fl. 1895-1899). In 1896 Koe exhibited “Venus and Tännhauser” at the Royal Academy, now in the permanent collection in the Brighton Museum and Art and he showed a painting of Sappho two years later. He clearly shows the influence of other artists working at the same time, notably Singer Sargent, Arthur Hacker RA (1858-1919) and Herbert James Draper...

A handsome bookcase or china cabinet made in France in the last half of the 19th century. The case is in ebonized wood (including the top), and is curved at each side. There are three front doors with...

A large oil on canvas painting depicting a woman pouring hot water from a copper kettle into a silver teapot from the mantelpiece of a hearth in a large kitchen of a wealthy home...

A fully restored and working Swiss cylinder music box enclosed in a box of polished fruitwood featuring a central floral inlaid medallion on the hinged lid which opens up to reveal ...

The iconic Veliero bookcase re-invents the concept of balance, becoming the furniture poster child for the visionary work of Franco Albini. Given its ...

A Chinese carved quartz lamp mounted on a brass and a carved rosewood base. Presented with a pagoda shaped shade. The carved quartz is often referred to as Jadeite iis in fact from...

A very rare and beautifully cast late 19th century bronze by Maurice Constant Favre (1875-1915), titled " Mutualite" depicting two bare chested muscular blacksmiths, an older stockie...

A Classic Louis XV style chandelier of birdcage design having nine arms; the gilt metal frame heavily laden with various sized crystal plaquettes; originally candle lit...

A rare late 18th century Russian or possible Prussian neo-classical chandelier, having twelve arms around a central gilded bronze corona pierced with round cut crystals; the corona s...

A magnificent large scale 19thC French "bleu celeste"and gold Sevres porcelain vase mounted with decorative gilt bronze handles and gilt bronze base. The 'bleu celeste' coloured porc...

A rare finely cast Grand Tour patinated bronze statue of the Roman God Mercury ( Hermes in Greek Mythology) dressed in flowing classical robes standing with his right foot raised ...

A pair of carved alabaster lamps representing ancient ‘Roman’ architecture; each having three tall fluted columns with Corinthian capitals supporting a stepped top and resting on a r...

The finest quality Louis XV/XVI transitional style gilt bronze mounted tulipwood and amaranth cylinder desk by L. Cueunieres after models by Jean-Francois Oeben (French 1721-1763). T...

A large late 19 Century Qing Era Chinese Nanking Porcelain Vase in famille verte crackle glaze decorated with intricate warrior and landscape scenes The vase would have been exported to France from Nanking China...

A classic French Empire period day bed made out of solid flamed mahogany raised on block feet and straight edge identical head and foot boards decorated with gilt bronze busts of...

A beautifully inlaid and ebonized French centre table from the Napoleon III Era or third quarter of the 19th century. The table rests on four turned ebonized legs joined at the botto...

This classic planter is carved from a single piece of Carrara marble. The wasted shaped pot sits on four large lions paw feet each of which are topped...

28.5 pendant by Bocci Dimensions: D 20.3 x H 300 cm Materials: white round canopy Weight: 7.5 kg Also available in different dimensions. All our lamps can be wired according to ...

A romantic 18th century oil painting on canvas depicting two young couples in an idyllic landscape, the figures sitting by a stream beside a garden folly, their pets with them. The two men serenade the women with their stringed instruments. The subject matter and style of painting...

38.3 Pendant by Bocci Dimensions: D20.3 x H300 cm Materials: brushed nickel round canopy Weight: 8.2 kg Also available in different dimensions and models. All our lamps can be...

A beautifully executed and rare complementary pair of oil on canvas paintings depicting two of the moist famous and important counter reformation catholic saints St Francis Xavier and St Carlo Borromeo shown in scenes of what the respective saints are mostly famous for. St Francis Xavier for the conversion to Christianity of many S. E Asian countries notably India and St Carlo Borromeo shown asking the Virgin Mary to intercede for the cessation of the terrible plague of 1576. The paintings are presented in refreshed gilded carved wooden frames and are unsigned. St. Francis Xavier was born in Spanish Navarre in 1506 and in 1528, he met St. Ignatius of Loyola. He became one of the seven in 1534 who founded the Society of Jesus (Jesuit Order). In 1536, he left the University of Paris and joined St. Ignatius in Venice. He was ordained in 1537, and in 1540 after the Society was recognized by the Pope, he journeyed to the Far East. Francis Xavier first evangelized the Portuguese colony of Goa in India, then Travancore, Ceylon, Malacca, and the surrounding islands. From there he journeyed to Japan, where he gave Christianity such deep roots that it survived centuries of violent persecution. He died on Sancian Island in 1552, while he was seeking to penetrate into the great forbidden land of China. Despite language problems, lack of funds, resistance from the Europeans as well as the natives, he persevered. St. Francis converted more people in his life than anyone since the Apostle St. Paul. He baptized over 3 million people, converted the entire town of Goa in India, and he labored in India, Pakistan, Bangladesh, Sri Lanka, Malaysia, Indonesia, Singapore, and Japan. He was truly a missionary par excellence. St Carlo Borromeo (1538-1584), was a Cardinal of the Holy Roman Catholic Church and Archbishop of Milan from 1565 to 1583. He was described in the decree for his canonization, as “a man, even while the world smiles on him with the utmost flattery, he lives crucified to the world, spiritually, trampling earthly things, seeking continuously the things of heaven, emulating the life of the Angels on earth, in his thoughts and actions. The plague began in the month of August that year. Milan was celebrating joyfully the arrival of Don John of Austria, on his way to Flanders, where he had been appointed governor. The city authorities were abuzz with excitement in their desire to bestow the highest honours on the Spanish prince, but Charles, who had been Archbishop of the diocese for six years, was following with concern the news coming from Trento, Verona and Mantua, where the plague had begun claiming victims. The first cases exploded in Milan on August 11th, right at the moment when Don John of Austria arrived. The victor of Lepanto, followed by the governor, Antonio de Guzmán y Zuñiga, departed the city, while Carlo Borromeo, who was in Lodi for the Bishop’s funeral, returned in haste. Confusion and fear reigned in Milan and the Archbishop dedicated himself completely to assisting the sick and ordering public and private prayers. Dom Prosper Guéranger sums up his infinite charity in this way: “In the absence of local authorities, he organized the health service, founded or renewed hospitals, sought money and provisions, decreed preventive measures. Most importantly though, he took steps to ensure spiritual help, assistance to the sick and the burial of the dead. Unafraid of being infected, he paid in person, by visiting hospitals, leading penitential processions, being everything to everyone, like a father and true shepherd” St. Carlo was convinced that the epidemic was “a scourge sent by Heaven” as chastisement for the sins of the people and that recourse to spiritual measures was necessary to fight against it: prayer and penitence. He rebuked the civil authorities for having placed their trust in human measures rather than divine ones. “Hadn’t they prohibited all the pious gatherings and processions during the time of the Jubilee? For him, and he was convinced of it, these were the causes of the chastisement. The magistrates who governed the city continued to oppose public ceremonies, out of fear that the large gathering of people would spread contagion, but Charles “who was guided by the Divine Spirit” – recounts another biographer – convinced them by citing various examples, among which was the one regarding St. Gregory the Great who had halted the plague devastating Rome in 590. While the pestilence spread, the Archbishop then ordered three general processions to take place in Milan on the 3rd, 5th and 6th of October, “to placate the wrath of God”. On the first day, the Saint, despite it not being the Lenten season, placed ashes on the heads of the thousands gathered, exhorting them to penitence. Once the ceremony was over, the procession went to the Basilica of St. Ambrose. Charles put himself at the head of the people, dressed in a hooded purple robe, barefoot, penitential cord at his neck and large cross in his hand. The second procession led by the Cardinal headed towards the Basilica of San Lorenzo. The third day the procession from the Duomo headed for the Basilica of Santa Maria at San Celso. St. Carlo carried in his hands a relique of Our Lord’s Holy Nail, which had been given by the Emperor Theodosius to St. Ambrose in the 5th century. The plague didn’t show any signs of waning and Milan appeared depopulated, as a third of its citizens had lost their lives and the others were in quarantine or didn’t dare leave their homes. The Archbishop ordered about twenty stone columns with a cross at the top to be erected in the main squares and city crossroads, allowing the inhabitants from every quarter to take part in the Masses and public prayers - from the windows of their homes. One of Milan’s protectors was St. Sebastian, the martyr the Romans had recourse to during the plague in 672. St. Charles suggested that the magistrates of Milan reconstruct the sanctuary dedicated to him, which was falling into ruins, and to celebrate a solemn feast in his honour for ten years. Finally in July 1577, the plague ceased and in September the founding stone was laid in the civic temple of St. Sebastian, where on January 20th every year, even today a Mass is offered to recall the end of the scourge. St.Carlo Borromeo died on November 3rd 1584 and was buried in the Duomo of Milan. His heart was solemnly translated to Rome, in the Basilica of Saints Ambrose...